Cover

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Frontmatter

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Contents

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Acknowledgments

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pp. ix-x

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1. A Painted King

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pp. 1-15

I FIRST SAW THE SCULPTURE in the spring of 1996. Fearful I would drive right by it, I proceeded carefully through the small town of Kapa‘au, scanning the land around each of the historic buildings. I knew it stood in front of an 1893 courthouse from the sugar plantation days. ...

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2. Creating a “Pacific Hero”

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pp. 16-32

MOST OF THE ORIGINAL DOCUMENTS about the sculpture’s commission reside in several well-guarded boxes in the Hawai‘i State Archives in Honolulu.1 I often research old correspondence to prepare my recommendations for conservation, but this was a rare treasure trove. The handwritten letters between the artist and the commissioning body ...

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3. Shipwreck

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pp. 33-49

ON AUGUST 21, 1880, the sculpture left Bremen, Germany, en route to Honolulu aboard the ship George F. Haendel. Although details in the accounts I found vary, the ship encountered a storm in the south Atlantic off the coast of Argentina. A fire broke out, then the ship struck a reef and sank to the bottom of the sea near the Falkland Islands. ...

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4. Return to Kohala

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pp. 50-66

I RETURNED TO NORTH KOHALA once again on September 3, 1999. The local project committee suggested that we announce our plans at the annual ukulele and hula festival. This annual event with its celebration of musicians and hula artists attracts local residents whom I was told would not attend a public meeting about the sculpture. ...

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5. Local Style

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pp. 67-75

I WANTED TO LEARN HOW people in North Kohala conceive of their community, including how individuals define groups and how they think about participation privileges. This was directly relevant to the questions of how to conserve the sculpture and whose opinions should count in determining its conservation. ...

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6. How People Think about Their Sculpture

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pp. 76-102

AS I CAME TO KNOW people in North Kohala and understand the history that brought so many different people together from distant places, I also learned of the sculpture’s place in their lives. Listening to old-timers and newcomers talk about the sculpture gave me a picture of how people think about themselves in relation to the past, and to Native Hawaiian culture. ...

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7. The Community Takes Sides

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pp. 103-123

OUR FIRST TASK WAS TO get people thinking about the sculpture in a new way—not just as a spiritual, educational, political, and economic object, but as a “conservation object.” By now, I knew the difficulties of getting older folks, including respected kūpuna, involved in public activities. ...

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8. Decision

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pp. 124-141

WHO DECIDES AND HOW TO decide were in the hands of the local project team. They met and debated these questions behind the scenes during the months of community discussion. The question of “who decides” paralleled other concerns in the community over the status and rights of Native Hawaiians and respected kūpuna. ...

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9. On the Scaffolding

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pp. 142-163

I RETURNED TO NORTH KOHALA in February 2001 to finally perform the hands-on conservation work on the scaffolding. Michael Jones flew in from Honolulu and picked up his truck full of supplies at the shipping dock. We checked into Nani’s guesthouse and met with Nalani to strategize our first steps. ...

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10. Looking to the Future

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pp. 164-174

AFTER CELEBRATIONS ON KAMEHAMEHA DAY 2001, I returned to my life as an art conservator on the mainland. Yet much had changed for me. I had a new sense of how community participation could influence my practice, but I wondered what effect the project had on the community itself. ...

Appendix 1: Hawaiian Glossary

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pp. 175-176

Appendix 2: Significant Dates in the Early History of the Kamehameha Sculpture

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pp. 177-178

Notes

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pp. 179-184

Bibliography

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pp. 185-192

Index

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pp. 193-203